florida state university college of music performance practice

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Duration Duration 1:26 1:12 0:57 0:43 0:28 0:14 0:00 1:26 1:12 0:57 0:43 0:28 0:14 0:00 Lässest du diesen los (Chorus) 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 Conductors 1 3 5 7 9 11 13 15 17 19 21 23 25 27 29 31 33 35 37 Conductors Figure 22. Temporal comparisions for Lässest du diesen los. 1. Harnoncourt 1985 2. Gardiner 1986 3. Herreweghe 1987 4. Kuijken 1987 5. Schreier 1988 6. Christophers 1989 7. Slowik 1989 8. Max 1990 257 Series1 Series1
9. Parrott 1990 10. Weyand 1990 11. Guttenberg 1991 12. Ericson 1993 13. Harnoncourt 1993 14. The Scholars Baroque 1993 15. Koopman 1993 16. Corboz 1994 17. Cleobury 1996 18. Dombrecht 1996 19. Milnes 1996 20. Rilling 1996 21. Beringer 1997 22. Noll 1997 23. Fasolis 1998 24. Güttler 1998 25. Schulz 1998 26. Suzuki 1998 27. Daus 1999 28. Neumann 1999 29. Smith 1999 30. Suzuki 2000 31. Herreweghe 2001 32. Leusink 2001 33. Schreier 2001 34. Higginbottom 2002 35. Hempfling 2004 36. Veldhoven 2004 37. Carrington 2006 38. Max 2006 258
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FLORIDA STATE UNIVERSITY COLLEGE OF
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Dedicated to my best friend and wif
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TABLE OF CONTENTS List of Tables ix
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Wir haben keinen König 120 Eilt, i
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LIST OF TABLES 1. A summary of the
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LIST OF FIGURES 1. Available record
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ABSTRACT This dissertation investig
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Many broad questions have emerged a
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twentieth centuries, their value is
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performance. 24 However, since it h
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CHAPTER 2 THE HISTORICALLY INFORMED
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century a segment of society had em
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practice. Publications from two pio
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movement occurred as a reaction to
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Furthermore, the conviction known a
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of these microfilms, as well as som
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a purpose of “documenting…the r
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how to master historical instrument
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concerning authenticity, believed c
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are of the opinion that the Early M
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Butt credits Taruskin as one of the
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CHAPTER 3 CURRENTS IN BACH INTERPRE
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professor at Leipzig University and
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It is no surprise, based on these b
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marked by the completion of Wolfgan
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Rifkin discounts this plausibility
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heroic, one-dimensional way, he fee
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portrayals of Bach, not only since
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that concretely sheds light on how
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4 -/- The music is not expressive,
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polyphonically in various ways. In
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parts as the “B” parts in his K
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other principal church, the Nicolai
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chorale cantata was supposed to acc
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officials, as well as it cannot be
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Musik-Zeitung printed in May 24, 18
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Table 1 Continued NBA no. Version 1
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Table 1 Continued NBA no. Version 1
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we still lack the important assuran
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and chorales as well as any soprano
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performance of the majority of the
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movements omitted, conducted by Jos
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Interestingly enough Wolle‟s cond
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the St. John Passion. While no one
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ecordings made of the St. John Pass
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CHAPTER 6 CASE STUDY As stated befo
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14 12 10 8 6 4 2 0 Obtained recordi
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Carrington‟s 2006 live recording
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composers like Mattheson who experi
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nineteenth century and university c
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its intensity today. Both musicolog
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34% 8% Instrumental forces for acqu
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Table 2 Keyboard Continuo Instrumen
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What are the attributes and differe
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His study suggests that there are p
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transition in attaca fashion. Most
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Dynamics Most scholars and performe
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Table 3 Pitch Standards Conductor Y
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that the trill initiates on the dis
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measures 58-69a and 78b-86a. The re
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fermata on “Himmelreich.” Yet m
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subsequent forte dynamic at “Jesu
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its delivery. Interestingly enough,
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Many conductors took advantage of t
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Weyand (1990) was documented as the
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elongated the fermatas slightly lon
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Beringer (1997) held out the last n
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used this idea expressively were Sc
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milde dich hast geblut‟ zu Tod!
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expressiveness, conductors Milnes (
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German conductor Max (1990) was the
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given space with breath to enhance
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ecorded at 2:52 and 2:47 respective
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Lastly, in regards to dynamics, mos
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increasing amount of expressive qua
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Basiliensis located in Basel, Switz
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y the recording industry. With the
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conductors of the Berliner Singakad
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is now regarded as one of the most
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distinct styles formed within the g
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Version 4, which is believed to hav
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majority of the work. The performan
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performance, conductors were at lib
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While issues of rhythm played a par
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true in the sphere of duration, whe
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Christophers, Harry, dir. Johannes-
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---, dir. Johannespassion, by J.S.
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Old and Modern Music and Boys‟ Ch
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Choir. Pierre Verany. 1987. Kuijken
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Wolf, Jürgen, dir. Johannes - Pass
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Leusink, Pieter Jan, dir. Johannes
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APPENDIX C SURVEY OF REVIEWS The fo
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Worrel, Stephen W. Review of St. Jo
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5 Violins 1 Viola 1 Viola da gamba
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8 Violins 3 Violas (2 Viola d‟amo
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(Not available) Orchestra (Not avai
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2 Flutes 2 Oboes 1 Bassoon 1 Lute 1
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2 Violas 2 Cellos 1 Violoncello 1 V
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15 Basses Orchestra 4 Violin 1 4 Vi
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(Not available) Orchestra (Not avai
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Choir 5 Sopranos 5 Altos 5 Tenors 5
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Choir (Not available) Orchestra (In
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Version 5 (1851) Max, Hermann, dir.
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APPENDIX F MODERN VERSUS PERIOD INS
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Noll, Christoph Anselm, dir. Johann
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Schulz, Ingo, dir. Johannes - Passi
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APPENDIX I NATIONALITY OF CONDUCTOR
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Peter Schreier (1988, 2001) Ingo Sc
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APPENDIX J TIMING TABLES The tables
Page 219 and 220: Duration Duration 12:00 10:48 9:36
Page 221 and 222: Table 5 Jesum von Nazareth (2 b Cho
Page 223 and 224: 9. Parrott 1990 10. Weyand 1990 11.
Page 225 and 226: Duration Duration 0:12 0:11 0:10 0:
Page 227 and 228: Table 7 O große Lieb (Chorale) Con
Page 233 and 234: Table 9 Wer hat dich so geschlagen
Page 235 and 236: 11. Guttenberg 1991 12. Ericson 199
Page 239 and 240: Table 11 Petrus, der nicht denkt zu
Page 241 and 242: 10. Weyand 1990 11. Guttenberg 1991
Page 245 and 246: Table 13 Wäre dieser nicht ein Üb
Page 251 and 252: Table 15 Ach großer König (Choral
Page 257 and 258: Table 17 Sei gegrüßet, lieber Jü
Page 263 and 264: Table 19 Wir haben ein Gesetz (Chor
Page 269: Table 21 Lässest du diesen los (Ch
Page 275 and 276: Table 23 Wir haben keinen König (C
Page 281 and 282: Table 25 Schreibe nicht: der Jüden
Page 287 and 288: Table 27 Lasset uns den nicht zerte
Page 293 and 294: Table 29 Mein teurer Heiland, laß
Page 299 and 300: Table 31 Ruht wohl, ihr heiligen Ge
Page 305 and 306: Table 33 O Mensch, bewein dein Sün
Page 307 and 308: Table 34 Christe, du Lamm Gottes (C
Page 309 and 310: APPENDIX K CONDUCTORS WITH MULTIPLE
Page 311 and 312: Duration Duration 10:48 9:36 8:24 7
Page 313 and 314: Table 36 Peter Schreier Herr, unser
Page 317 and 318: Table 37 Hermann Max Herr, unser He
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Table 38 Masaaki Suzuki Herr, unser
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Duration Duration 10:48 9:36 8:24 7
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Table 39 Philippe Herreweghe Jesum
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14. Kreuzige, kreuzige 15. Wir habe
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1. Guttenberg 1991 0:11 Germany 2.
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3. Beringer 1997 1:10 Germany Faste
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Fastest 21 f Wir haben ein Gesetz (
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Fastest 1. Noll 1997 0:28 Germany 2
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Fastest 39 Ruht wohl, ihr heiligen
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---. “Harnoncourt - Never too ear
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---. Playing with History: The Hist
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Dulak, Michelle. “Bringing Back B
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Harnoncourt, Nikolaus. The Musical
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---. “One-to-a-part? Who then tur
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---. “The Notes inégales Revisit
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Schubert, Peter. “Authentic Analy
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Translation by John Lambert, Paris:
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BIOGRAPHICAL SKETCH Michael Troy Mu
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